| As an important gardening concept in the late Ming and early Qing dynasties,"true mountain boundary" has important research value,among which Zhang Nanyuan,the representative of gardening and stacking mountains,is widely praised by literati.This paper is based on Zhang Nanyuan’s case of garden building and mountain building and his "plain and natural" concept of painting garden building,to uncover the history of garden building and mountain building in the late Ming and early Qing dynasties.This paper tries to answer three main questions:(1)What is the historical background of the concept of "true mountain boundary" and its origin,from the early literati’s attention to the environment of "mountains" to the transformation of the concept of "true mountain boundary".(2)How to present the specific directivity of the concepts of "painting" and "true mountain" in Zhang Nanyuan Garden.(3)The ideological motivation behind Zhang Nanyuan’s concept of "true mountain boundary".The study found that the formation of the concept of "true mountain boundary" was closely related to the early Buddhist culture.Under the influence of Buddhist thought,the pursuit of true mountain environment was formed,which also contributed to the rise of natural style mountain stacking.Zhang’s garden came into being under such historical background,and at the same time,two changes were formed:(1)the evolution of appreciation from "static view" to "dynamic view";(2)The conceptual change of mountain stacking technique from "landscape" to "garden".Secondly,from the historical facts of the characters and the case of garden construction,it can be found that Zhang Nanyuan’s technique of garden building and mountain building is a representation of Dongting landscape,forming the inner link among "painting","real mountain" and "garden".Therefore,Taihu Lake has evolved into a symbol of civilization in the long history.Zhang’s garden has precisely become the happy land from the "real world" to the "ideal world".What is reflected behind "painting" and "True mountain" is also the owner’s internal psychological appeal for "Zen environment".On the one hand,the owner of the garden participates in Buddhist activities in the garden,on the other hand,he also shows a tendency of "returning to the Tang Dynasty" in ideology.Finally,it reflects the trinity pattern and corresponding relationship of "painting--true mountain--Zen environment" in Zhang Nanyuan’s concept of "true mountain boundary".Figure[30] Table[18] Reference[98]... |
